本 論文은 傅統宮中舞踊 中에서 唐樂呈才 儀式인 蓮花臺에 關하여 그 內容과 構成, 및 제반적인 요소들을 文獻을 중심으로 硏究함으로써 宮中舞踊에 관한 內容을 명백히 하고 呈才의 再現을 摸索할 때 도움이 되는데 연구의 목적을 두었다.
宮中呈才의 構造와 변천과정을 살펴보면 呈才는 개개의 작품이 독자적인 感情表現을 超越하여 민족적인 性格을 지니며, 意識節次 및 구조자체에 陰陽五行의 東洋哲學 思想이 깃들어 있고, 춤가락이 정중하고 느리면서도 우아하고, 內容에 있어 目的과 의도가 분명하며, 形態 構成이 잘 정돈되어 있으며, 연희과정에는 起, 承, 轉, 結의 엄한 격식과 질서를 바탕으로 이루어져 있다.
蓮花臺는 唐樂呈才의 대표적인 춤으로그 形態는 蛤笠을 쓴 舞員을 竹竿子가 引導하여 前面으로 나아가 君王頌視의 內容을 지닌 先口號를 알리고 물러나면 元舞의 唱詞 부름으로 춤의 시작을 알리는 禮의 절차가 끝나고 본격적인 춤으로 들어가는 데 물러났던 竹竿子가 다시 前面으로 향하여 춤을 아름답게 끝냈다는 禮義로서 後口號를 하면 全員이 퇴장하는 것으로 이 춤을 맺고 있다.
무작 및 形態에 있어서는 史料의 한계와 文獻의 제약으로 궁극적으로 현존하는 춤사위에 한정 지을 수 밖에 없었다. 대체로 그 형태의 큰 틀이 舞員의 변화에 따라 조금 변형되었을 뿐 呈才舞圖笏記 이후로는 現行과 一致한다고 볼 수 있다.
그러나 변천 內容에 있어 高麗史樂志와 樂學軌範·呈才舞圖笏記 및 現行 것을 비교하여 보면,
音樂은 呈才舞圖忽記 이후로는 현행과 같은 내용이며 또 高麗史樂志의 口號는 현행에 이르기까지 先口號 後口號로 나누어 竹等子가 아뢰었는데 사설내용은 생략하여 부르고 있다.
舞員은 高麗史樂志 樂學軌範에 2人이 呈才舞圖笏記 이후 25人으로 되어 현행에 이르고 있다.
儀物과 服飾은 큰 변화는 없고 정재무도홀기 이후 합립 대신 연화관을 썼다.
이상에서와 같이 蓮花臺는 高麗 初期에 들어와 朝鮮을 거쳐 現行까지그 內容과 形態에 있어 약간 변모되었을 뿐 그 原形을 거의 保存하고 전해 오는 唐樂呈才의 대표적인 춤 중의 하나이다.;This study is meaningful in helping the search for the reproduction of the estate for votive offerings, and clarification of the contents of the court estate for votive offerings by studying the literature centered on the various factors and the contents and the construction regarding Yon Hwa Dae which is the style of Dangak (Chinese music) estate for votive offerings out of the court dancing.
To chek The change and construction of court estate of votive offerings, the estate for votive offerings have the national character by transcending the individual expression of feeling of each work of art, and the steps of the consciousness and the construction itself have the Oriental phylosofical thought of Yin and Yang Five Elements, and the dance tune is profound and slow, and elegant, and the intention and the object are clear in the conterts, and the construction of type is well arranged, in the process of party, and is formed on the basis of the stern style and rule as well as the order of the four steps in composition (the introdllction, the development, of the theme, conversion, and summing up).
You Hwa Dae is the representative dance of Dangak estate for votive offerings, and the guide named Jookganja leads the dancer with Haprip (the cap), and comes to the front and creates the poem on the spot in advance and retreats.
By singing the song of the circle dance, the procedure of ceremony which notifies the beginning of dance comes to an end, and the dance starts regularly, and the Jookganja who retreated at first again closes the dance beautifully toward the front and create the poem on the spot in advance as the ceremony, and the whole members retreat and the dance is finished.
Regarding the manufacture of dance and the type, file to the limit of historical material and the literature, the exiating dance point was limited in investigation. In general, the great framework of type was changed a little in accordance with the change of dancer, and may consider the same as the existing dance after the period of estate for votive offerings dance.
But, in the contents of change, the musical magazine of the Koryo history and Akhak Kwebom, and the record of estate for votive offerings ance and the existing things are compared, and the music is the same conents after the record of the estate for votive offerings dance and the poem in the musical magazine of the Koryo history is divided with pre-poem and post-poem until now and Jookganja ceated them and contents of the poem is created with omission.
The dancer was two persons in the musical magazine and Akhak Kwebom of the history of Koryo and increased to 25 persons after the record of estate for votive offerings dance, and it continued to the present.
The clothes and the style of the costumes showed little change, and the Yon Hwa crown instead of Haprip was used after estate for votive offerings dance.
As shown on the above, Yon Hwa Dae ranging from the beginning of Koryo to the present via Yi Dynasty changed a little in the contents and style, and the origin was almost preserved and it is one of the representative dance of traditionally coming Dangak estate for votie offerings.